NATURE VS HUMANS. A STRUCTURE EXAMINATION
Humans’ failure to consider nature as a partner shows itself through our attempt to organize the environment.
In return, nature‘s structures penetrate through our organization and deconstruct our man-made structures.
We seemingly try to incorporate unconsciously and consciously nature‘s given colors and forms in order to integrate a structure as a whole into the environment. However, the structure appears detached, object-like and simply placed anywhere being interchangeable through other objects.
Nature‘s own entity demands a new conversation with us – raising the issue that it has been forgotten and put aside as being conquerable by humans.
The need to build structures fitting into the environment becomes evident.
Respect for and living with nature in times of global warming is a contemporary issue that needs to be discussed.
The photographic series examines the process of the two structure forces penetrating each other. Its ambiguity inherits uncanniness as well as aesthetics parallelly and leaves the viewer inquiries about the joint future.
GIULIA BOWINKEL & FRIEDEMANN BANZ
Exploring the realm of digital media, the artist duo Giulia Bowinkel and Friedemann Banz continuously challenge its variables. Outside of perceptive and tangible borders, they convey abstract fiction-ality into their work; Reality as we know it now becomes obsolete.
Diving into the unknown, abstract spheres of new media and interaction with the participant are questioned. That is, in reference to the artists, interactive geometry is happening. This very question of symbiosis is implicated in the interactive installation. The pieces Digital3mpire and Bauschau are a continuation of the augmented reality tools the artists have been experimenting with. While the meshes are still static in these prior artworks, the meshes in this interactive geometry develop a dynamic interaction with the space and the viewer.
Without external devices, meta-tasks are not feasible. The tracker wall installation allows the viewer to track the symbols through his or her smartphone. Only during the tracking does a 3D rendering move on-screen. By scanning the QR code, a human form overlayed with a grid, alongside floating branches, appears next to sphere animations. Citations from Samuel Beckett’s ‘Worstward Ho’ (1983) complement the piece. The rendering becomes visible through one’s smartphone, viz. a device is needed to read a symbol and the rendering. With their smartphones, the viewers are confronted to reflect on their interweaved relationship to what they might think are prevailing devices. De facto, there are machines with more potential than the machines out in the current market. That brings us back to an object like a device: What is it exactly? The where and what of an abstract thing in relation to a human participant turns into a grey area.
And how far away is the Singularity in reality? The attempts to achieve the Singularity are speculative. What appears already realized is solely a complex input-output machine. Exactly this correlation of input and output data intrigues the artist’s attention. A special focus lies on the collection of data. What is the outcome of an instrument augmented with all existing knowledge? What if subsequently all this knowledge gets interconnected? Does this alter human structure and culture? We have to contemplate what kind of reality we are facing: in how far the simulated world might influence the real world later on, and how the real world will influence the simulated - as the cyberpunk era has portrayed in various ways. While its premise was fiction, today the possibilities to achieve this goal seem realizable. Thomas Moore’s ideal utopia and dystopian ideas of societies come to the fore again.
Creating a virtual world inside of artwork blurs reality and abstraction: If the device is off, is the artwork off? Following up to the discussion of the ‘semantics of a digital artifact’ according to Roberto Simanowski (Digital Art and Meaning, 2011), the body of thought of symbols has to be considered in a new light.
(In: 191°. Weltkunstzimmer. 2016)
URBAN SCULPTURE VOL I
URBAN SCULPTURE VOL II
URBAN SCULPTURE VOL III
URBAN SCULPTURE VOL IV